Kickended by Silvio Lorusso is online database artwork archiving the Kickstarted campaigns that got not even a single penny. This competitive aesthetics of failure has been able to attract the attention of major national newspapers (from the British “The Guardian” to the Italian “Corriere della Sera”).

Graphic Constellations: Visual Poetry and the Properties of Space, it’s an exhibition celebrating the 50th anniversary of the First International Exhibition of Concrete, Kinetic and Phonic Poetry held in Cambridge in late 1964. Curated by Bronac Ferran and Will Hill at the Ruskin Gallery in Cambridge, UK (Image: ‘Poemkon=D=4=Open=Apollinaire’).

The Pirate Bay computers and servers have been seized by Swedish Police on a data center in Nacka (Greater Stockholm). It’s offline since December 9. http://torrentfreak.com/swedish-police-raid-the-pirate-bay-site-offline-141209/

“Art Post-Internet” was an exhibition curated by Karen Archey and Robin Peckham for the Ullens Center for Contemporary Art in Beijing in spring 2014. This is the specially designed pdf catalogue whose with the front page is created each time with the IP and quite approximated location of the user. It includes tentatively definition of “post-internet” by Cory Arcangel, Simon Denny, and Bunny Rogers, art critics Ben Davis and Paddy Johnson, academics Mark Tribe and Esther Choi, and museum professionals Christiane Paul, Raffael Dörig, Jamillah James, Ben Vickers, Omar Kholeif and Gene McHugh.

Dominic Lopes – A Philosophy of Computer Art

Routledge, 2009, English, 160 pages, ISBN-13: 978-0415547628
Focusing on the processual nature of computer art and purposely omitting all the strictly digital-related issues, this book tries diligently to define a philosophy of computer art. To accomplish this task Lopes tries to be as rigorous as possible in formulating definitions and relationships between concepts. He structures his thesis scrutinizing the essence of computer technology and articulating an accurate philosophical discourse. From this perspective it’s an interesting read, with different conceptual problems related to new media art being tackled in the beginning of the book with syllogisms that construct new definitions. Although some definitions, such as ‘digital art vs. computer art’ are somewhat questionable, the concept of “interactivity” remains essential to Lopes’ discourse. He elaborates on the “experience” factor, for example, showing how much work this concept does in the task of specifically defining “artists” and “users”. He continues to argue distinctively; urging, for example, the independence of the code from the data it processes, and “computing power” as the specific medium used by computer art. Then, he finally steps into video game art, the land where denigrators frequently argue that the essential qualities of art are missing (one example being the lack of time available for reflection within a game). Lopes, to a degree, embraces a logical defense of what he calls computer art as an art form, and he does it through attentiveness, using plenty of artworks to bolster his theories.